Ever-Changing Journey Pt.2

of Masterpiece Part.2

Masterfully forged artworks has created billion-dollar industry and put us on the blurred line between conundrum of originality and authenticity. To the extent, art forgery has transformed into new genre of modern art, ironically challenging traditional ecosystem of fine art industry and way of art dealing. We are still lost somewhere in-between lucid and vivid dream.

Mona Lisa by Leonardo Da Vinci

Now, let us consider what it feels like to have private and prized collection of masterpiece hanging on the wall of your house turns out to be a fake. No further explanation needed.

According to a report by AFP, over 50 percent of art in the market is fake. Thomas Hoving, the museum’s director until 1977, must have examined at least 50,000 objects, he wrote in his book False Impressions. “I almost believe that there are as many bogus works as genuine ones.”

Art forgery is as old as pencil and easel. Its long and enduring history goes all the way back to the Roman Empire where sculptors were forging the ancient Greek sculptures. During Classical Period, such activities were done mostly for the historical references, religious act or way of practicing their craftsmanship. Then forgery had turned into more of fraudulent acts after Renaissance when heavy demand for art surpassed the supply with rapid growth of middle class. Coming into the modern era of 1900s and after, art forgery proudly presented its tainted history such as “Portrait of a Gentleman” by Dutch Golden Age artist Frans Hals and continuing it in 21st century as well powered by modern technology, boosting their anonymity.

Art industry has fired back to art forgery more proactively than ever within last 5 years. Sotheby’s, one of the world’s biggest art auction and trading companies, hired top art forgery detective in-house to micromanage every single art work with cutting-edge technology.

Sotheby’s bought Orion Analytical to have in-house conservative lab to analyze every piece in order to improve the authenticity of art works with help of more advanced equipment like Fourier-transform infrared microscopes and x-ray machines while preventing the rising cost for possible settlement issue before and after the auction. Sotheby’s learned it hard way, when The Frans Hals painting, Portrait of a Gentleman, was sold for a reported £8.5m ($10.8m) but was later declared fake.

The Frans Hals painting, Portrait of a Gentleman, Photograph: Sotheby’s

Like Sotheby’s innovative and desperate approach, art industry has fired back to art forgery more proactively than ever within last 5 years. For example, Christie’s, the other world’s biggest art auction house, they are aiming to build the house of trust and authenticity with brand new ecosystem in art dealing. There are numerous uprising project for advancing art industry with blockchain, decentralized ledger technology for data security and management within permissioned, permissionless, or hybrid network.

However, there are more complicated histories in the world of art forgery and originals.

Art forgery has evolved so meticulously, adroit technique has even surpassed accomplished feat of the originals. People will make a purchase of forged painting if it is that good. Affection toward masterpiece will drive collectors to buy at expensive cost for the satisfaction with luxurious look in their spaces or it might just be love for art and possess them instead of being a spectator from near or far away.

Who wouldn’t want the masterpiece like ‘The Goldfinch’ as private collection hanging on their wall? Moreover, it probably would not matter if forged is no different from the original since it is not for sale. Replacement would suit collectors’ needs and affection for such cherished treasure of timeless classic.

Same logic applied to famous forgers like van Meegeren forging and selling Dutch master Vermeer and Beltracchi selling many forged pieces of Pablo Picasso and Paul Gauguin. Where there is supply, there is always a demand. People wanted luxuries of possessing classic masterpiece. It is obvious thing to do if choice is given.

However, once forgery is unveiled, its value plummets. This is where authenticity and rarity of the original come in to deliver the unique essence of creative artists. This was proven by famous psychological experiment conducted by George Newman and Paul Bloom where participants estimated much higher value on original work and much lower on copied work. This is how originality was perceived.

Long story of The Goldfinch puts a period to the debating of such topic. At the end of the book, story wraps up with masterpieces to be displayed, showcased, and enjoyed by the whole world to see its immortality in art-is-longer-than-life nuance and existence. They are meant for everybody. They are meant for pursuing dreams of painter to elaborate blood and sweats through one single image morphed from self-portrait just like illusion of ‘The Goldfinch’ soaring off from the plethora of fire, probably the last kept image of life for Fabritius himself.

The Goldfinch makes a strong case in point with quotes from protagonist, Theo Decker’s mother, “Anything we manage to save from history is a miracle,” minutes before tragic death — an idea that runs deep through veins of the novel.

As for art industry, previous collapse of the committees for authentication acted as a catalyst for golden era of art forgery and trading, making fortunes for forgers and sellers for instant perfect retirement with financial luxury while deceiving buyers and spectators for years, even centuries.

Continuous collapse of authentication committee raised a critical question for more reliable method for assured authentication that will distinguish the difference. While this is such a heavy lifting even for most prestigious art historians or old master experts, original approach powered by technology can add new wrinkle to the market demand, proving the entire process of painting from the very beginning, live recording of artist and his entire work process until the completion before storing the entire as digital data along with digital copy of complete piece using Proof-of-Work of blockchain.

At least, we know who, where, what has started, and how it is done, sealed, and delivered.

We need a new trustworthy watchdog.

Patronage of the arts is critical. In one way or the other, it must be executed. If government cannot do it, then technology should do at all cost.

True meaning of art is to be returned to norm and seen by people who seeks and understands the timeless value of masterpiece beyond the enjoyment or theoretical analysis. Goldfinch taught us all that. Artworks should be fully protected at all cost. Convergence of art data and modern technology such as blockchain is actively seeking fruition as concrete resolution. Relentlessly, that is how we will let Goldfinch soar freely by freeing us to enjoy the masterpieces whenever, wherever, and what so ever.

Tartt’s exploration for beauty of art and masterpiece — displayed through Theo’s obsession and attachment to the painting as part of himself and his identity — depicts the imagery of how masterpiece interacts with human in the every moment of darkest period and path to restoration of one self. Tartt puts exclamation mark at the end of the book with unwavering conclusion of how art should be treated by all and its right to be accepted by what surrounds it.

Even now, there is no assurance or perfect tool to distinguish the real work from fake ones. Even prestigious experts, museums, galleries, and auction houses cannot guarantee its authenticity unless proven otherwise. That is how much quality forgery has gotten narrowing the gap between original piece. Authentication needs a different approach for delivering completely new level of innovation and security — cutting-edge technology in this case.

Fabritius is often compared to Rembrandt, his teacher and predecessor of his artworks as well as another standout, Vermeer, who was his pupil.

Tartt has drawn comparison to Dickens, one of the greatest writers in the history. This long history of literary world formed by countless number of words and expressions with resemblance of various creative minds from generation to generation. This is how our utopia of aesthetic art and culture shaped up with distinguished sense of beauty and unique identity on the paper and canvas, perfect universe of imagination.

Such element deserves its spot at the sceneries of brilliant history of ancestors and descendants, and their heirs in 21st century.

In The Goldfinch, Theo, by stealing the painting during explosion, become both victim, with loss of his mother tragically, and criminal.

This is how cruel our reality is in the realm of masterpiece. Art forgers and spectators are turned into both victim and criminal at the same time just like Theo, lost in the vicious circle of authenticity and counterfeit without recognizing the value of it, replaced with money rather than consciousness. Not all spectators are criminal, but those who desired to order such illegal actions for sole possession while delivering fake to outer world are.

To the extent, we are all Theo as protector of Goldfinch as well as thief who holds onto the painting in our own secret chamber for better or worse.

The Goldfinch is much more valuable than as collateral for international drug dealing crime.

As advanced technology plays both hero and villain while raising an issue of protecting art and culture from dark underground, elements of human nature such as greed will be always same if granted for our own pleasure.

So, how far are we from Goldfinch of 2013 in artistic notion for consciousness and authenticity?

Have our cultural acts revolutionized the change or condescend ourselves or patronized others for regression?

I mean, we all make choices.

Masterpieces, enshrined with desperate lives and memories of creators, come alive with their time-honored vitality and sentiment stimulating our imagination that there is a road less traveled and still on the journey toward uncharted territories beyond rigid frame and walls around.

Just like Theo’s worldwide journey for unfinished business, and The Goldfinch, soaring miraculously out of flames of chaos, there are more elements of art left in our lives, hungry for its authenticity while beauty of it still seeks for salvation.

Tragic accident killed Fabritius at age of 32 and only 26 pieces of his work survived during explosion. If not for the gunpowder, we could have discovered more masterful beauty of his touch and paintings with more in quantity and in-depth reminiscence of Dutch golden age. What if technology was his companion from the very beginning of his artistic career? What could have been then?

We all have the unique voice of our own, presenting our identity, personality, philosophy, profession, and even life itself as art and books resonate the same values and elements of artists with deep echoes travelling throughout the time.